Bureau Doove - creative consultancy

SPOT #1 – A.A.E. Essai 1 – Lucas Cyrille

2020 needed to start with a new iniative for which I am happy to introduce this new column for newly SPOTted talent, extraordinary exhibitions and/or specfic projects.

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For the first issue of SPOT I am happy to introduce the work of one of my students at ESADHaR that answers all of those categories. Under the heading A.A.E. Essai 1 (Action Art Environnement -Reinforcement office for nature and culture), Lucas Cyrille has organised his first exhibition in the space of Collectif d’en face, an artists collective here in Rouen. The original co-ordinates of the mostly found objects (including as good as new Christmas trees and skis) are indicated as a wall drawing, while a painted version of the French cover of the so-called Meadows Report The Limits of Growth (Les limites à la croissance) commissioned by the Club of Rome and published in 1971, acts as a quiet early witness of exponential economic and population growth. In view of our current times an extremely thoughtful presentation that nevertheless has a sense of humour by a young artist to keep an eye on. Please find the project’s statement with photos by Léo Barranco below.

The basic idea of A.A.E. is a reflection on the means of production in contemporary art, the responsibility of artists and their ecological impact.
Questioning the usefulness of art in these troubled times, for “Essay #1″, no part was involved in economically encouraging a non-responsible system. The exhibition actually consists of objects and materials that have all been found, gleaned or are second hand.
All the elements of the installation will be able to return to a function after the exhibition.

 

Action Art Environnement (bureau de renfort pour la nature et la culture) propose ici sa première exposition menée par Lucas Cyrille.
L’idée première de A.A.E. est une réflexion sur les moyens de productions dans l’art contemporain, de la responsabilité des artistes et de leur impact écologique.
Pour “Essai n°1”, aucune pièce n’a participé à encourager économiquement un système non responsable. En effet, l’exposition est constituée d’objets et de matériaux qui ont tous été trouvés, glanés ou proviennent du réseau de secondes mains.
Dans un questionnement sur l’utilité de l’art par ces temps troubles. Tous les éléments de l’installation pourront retrouver une fonction après le temps de l’exposition.

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Until 14 February 2020 at

Collectif d’en face
147 Rue Beauvoisine
76000 Rouen, France

06 23 12 50 12

Open weekends and on demand.

Le film sans fin – performance lecture

To start the new year off first of all a Very Happy, Prosperous, Joyful, Exciting, and why not, Funny 2020. Humour and going with the flow seem to be the only possible attitude to have in view of the ongoing strikes here in France that so far have made any travel completely impossible for yours truly. 2020 announces itself thus slowly and as a year of reflection which is exactly the way Bureau Doove will take in the upcoming time, with more attention for (personal) research and slow development projects.

To start I am therefore happy to announce the performance lecture of Le film sans fin (Film without end) by Ollivier Moreels and Jean-Louis Vincendeau in collaboration with amongst others Stanislas Deveau and Philippe Hourlet. This takes place in the context of the yearly Lectures en partage (Shared lectures) this Saturday 11 January in Alvéole 12, Submarine base, Saint-Nazaire from 8pm onwards.

More information on Le film sans fin can be found on Ollivier Moreels’ website.

Sara Bomans – Open Studio

Contemporary Obsessions

On Saturday 21 and Sunday 22 December Sara Bomans organises an open studio where you can see and buy her work. Prices start at 1€ but there’s no obligation to buy.

Get in touch with Sara on bomanssara@hotmail.com to get her address which is situated close to the train station of Hasselt, Belgium.

Open from 2 – 7pm.

 

Le film sans fin – La pierre percée

 

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This summer we filmed the episode ‘La pierre percée’ as part of the ongoing project Le film sans fin by Ollivier Moreels and Jean-Louis Vincendeau and under the heading of AATP (Agence Artistique de Traduction Poétique) near Saint-Nazaire. For this collaboration Sara Bomans wrote a text and made a series of drawings that were integrated in the film. Jean-Louis Vincendeau wrote an accompanying text which you can find in the French version below the film and of which an English translation is soon to follow.

Also see the website of Ollivier Moreels here.

 

Parce que la vie n’est pas un continuum. Mais une succession de moments, de conscience, de scintillements, d’éclairs, un film sur la table sans faire d’histoires ; cependant il emmène le spectateur complice sur des chemins sinueux, freine, repart, réintègre la route principale et bifurque à nouveau. Ici les espaces sont vécus spontanément et la réflexion sur ces espaces s’installe dans la fiction et/par « notre » poétique filmique.

« Les contes sont des organismes vivants qui vivent leur vie à travers nous. L’individu est sans pouvoir sur eux. » Philippe Annocque

Un certain Luigi Massetta, sculpteur et navigateur parti de Portisco sur son voilier de fortune au dix-huitième siècle débarqua sur ce rocher qui lui plut immédiatement ; son « bello desiderio », selon son beau désir, après de nombreuses escales il décida que c’était ici qu’il s’installerait ; les premiers jours il continua de vivre dans sa cabine ; nus pieds il sorti ses massettes, poinçons et gradines et commença de sculpter une grotte au beau milieu de la roche.

Dans la patience des rochers pourquoi ici, cet arrachement, pourquoi à ce moment du parcours ; cohabitation avec les oiseaux, obligation de l’énigme ? Manier la massette c’était pour lui vraiment manier la massette, selon un dicton peu connu on ne construit pas sa maison avec des miettes de pain !

La première grotte était tournée vers le large, elle lui plaisait bien car il le matin à son réveil la vue était magnifique. Cependant l’hiver le vent s’engouffrait avec des rafales d’embruns ; il se décida de changer de côté, il repris ses burins et tailla une nouvelle grotte de l’autre côté avec cette fois une vue sur la côte qui n’était pas ou très peu habitée à l’époque.

Habile pêcheur, il variait ses menus en se rendant parfois à terre se ravitailler en eau potable, cueillir des plantes sauvages et chasser des lapins et autre menu gibier. Il créait son inconnu chaque journée inventée sans programme. Repéré par quelques terriens, il passait pour sauvage et ne cherchait pas spécialement le contact.

Il prolongea sa deuxième grotte jusqu’à rejoindre la première, il conserva une paroi pour se protéger des embruns et conserva une ouverture qui lui permit de contempler le coucher de soleil. Pierre percée vers la lumière parfois même il pu voir le fameux rayon vert reçu comme une grâce.

Bien plus tard un jeune chercheur du Currer Bell College, nommé Chris Brody-Lancy écrira un bel ouvrage : « Luigi Massetta, soul-body interaction », jusqu’alors resté confidentiel.

Cependant Luigi Massetta vécu là, longtemps, paisiblement, dans l’évidence de son beau désir, et, lorsqu’il disparut un jour qu’il ne vit pas venir, la nature reprit ses droits ; maintenant on connaît la suite.

ENSEMBLE

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Pictures Léo Barranco, 2019

Bureau Doove’s first major exhibition in France, ENSEMBLE, was a selection of the work of graduates from four schools for art, architecture and design in Normandy: ésam Caen, ESADHaR Le Havre/Rouen and École nationale supérieure d’atchitecture de Normandie. It was the first time that the schools presented their graduates together.

Edith Doove was invited to make a selection and present this in the majestic abbatial church of Saint-Ouen. She developed a specific scenography with a large 25 meter long plinth at the heart of the exhibition to showcase maquettes by the architecture graduates. Around this symbolic ‘table’ works of about 50 graduates are shown on and around the exhibition walls. For the repainting of these walls in a stone colour that moves away from the classic white box Doove succeeded in obtaining a sponsorship by Sikkens France.

With Pierre Amelin, Julien Amkadou, Cassandre Barbotin, Léo BarrancoJoseph BaudartAlzéda BedelBlanche Bertrand, Émilien Blanchard, Guillaume CapronRoxanne Chaussalet, Paul de Cathelineau, Charlotte Delval, Marianne Dupain, Camille Fesq, Sophie Gaudillat, Herveline Geffrault, Maria Giovanni, Victor Gogly, Flore Gueudeville, Clara Guilbert, Juliette Guiot, Victor Hamonic, Nine Hauchard, izypt + enora tuauden bource, Cédric Jacquemin, Camille Jamelin, Naïl Jebbour, Marie Kerou, Dejing Kong, Cloé L’Ahelec, Solène Langlais, Corentin Leboucher, Marine Lemaire, Paul Lepetit, Thomas Maestro, Martin Mallet, Arthur Marie, Héloïse Marie, Sonia Martins Mateus, Morgan Menu, Estelle Pabryk, Ragib Paul, Marilou Pérez, Xavier Poirier, Alexandre Sarg, Monthicha Teonugul, Paul-Émile Ratel, Clément Rey, Anne Sarah Sanchez, Marina Vaganova, Elsa Valentin, Adèle Vallet, Raphaël Vandon, Jessica Visage, Ting-Chia Wu.

The exhibition ran from 24 October until 15 December 2019 at Abbatiale Saint-Ouen, Place du Général de Gaulle, Rouen.

Illustrated press file in French.
Visitors guide in French and plan.

 Featured mage Cindy Meurie / Concept Edith Doove

AnneMarie Maes at Centre Wallonie Bruxelles|Paris

Sensorial Skin

Disrupted Sensations’ – composition of 16 lightboxes with Sensorial Skins and Scanning Electron Micrographs (120cm x 120cm);
‘L’origine du Monde’ – objects in transformation, organic materials (boxes, 15cm x 15cm x 15cm)

AnneMarie Maes shows her installation Sensorial Skin at the Centre Wallonie Bruxelles|Paris.

Sensorial Skin is a bio-art installation focusing on the tactility of organic materials, visually appealing natural colors and subtle fragrances, in which the different components combine to make the work an experience to be apprehended on several levels. It is is a question of microbiology, a world in which microorganisms establish mutualistic or parasitic relations between themselves to create and weave structures or to decompose materials.

From 16/10 to 3/12 2019 at the Centre Wallonie Bruxelles | Paris
Vernissage 16/10/2019 at 6:30 PM
Curated by Stéphanie Pécourt and Sara Anedda as part of the program: Le 46 Digital
Salle du foyer – 46 rue Quincampoix – 75004 Paris

Info: https://www.cwb.fr/agenda/sensorial-skin-annemarie-maes
More info: https://annemariemaes.net

Sara Bomans in Screening a Collection

Screen It

Sara Bomans participates in yet another great show. As part of the parallel program of SCREEN IT, the three-annual city exhibition at Hasselt and Genk, she’s presented in Screening a Collection – 54 solo exhibitions and 1 group show at F.O.M.A.

For SCREEN IT, Luc Theuwis and Lieve Hardy literally scanned their private collection and brought them together in a video. In addition to a group show, every day one work takes a central place. In 54 days, you get 54 artists, 54 artworks and therefore 54 solo exhibitions. Follow their website for more information about the screenings, concerts and performances during the festival.

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Sara Bomans at 5th Luxembourg Art Prize

Luxemburg

‘I used to be sexy 5’ 2018 hair drawing / paraffin paper 26,5x32cm

This Saturday 28 September the group show of the finalists of the Luxembourg Art Prize opens at the Pinacothèque. Very proud that our own Sara Bomans is one of the 11 finalists nominated for the Prize for which this hair drawing was selected. The laureate will be announced during the opening reception so fingers crossed for Sara this Saturday around 7.30pm.

Opening 28 September, 6pm – 9pm

Pinacothèque
7 rue Michel Rodange, L-2430 Luxembourg
28 September – 14 December 2019

More info here

Leroy – Maes – Walker

Some combined news on exhibitions and presentations in the upcoming two weeks.

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On Saturday evening 28 September the organisation (n) of Dominique Leroy and Marina Pirot presents Champs d’écoutes / Fields of Listening. Listening experiences proposed by Antoine Freychet, Dominique Leroy and Marina Pirot are realised on the basis of audio captations, plunges into the worked fields of the market gardening site. This is followed by a presentation of Fordlandia“, the sound piece by Florence Jou and Dominique Leroy that was published earlier this year and that takes us to the Amazone, the banks of the Rio Tapajos, the hevea and the utopias of Henry Ford…

From 19pm at Site de maraîchage à Bouguenais les Couëts : “L’Escarbote” et “Les 2 feuilles” at 49 ter rue Jules Vallès , chemin du clos de la Fontaine – 44340 Bouguenais, France.

AnneMarie Maes shows here ongoing research as part of the group exhibition Seeing together: a synopsis which celebrates the LABORATORIUM/Color biolab and its four years of investigating the color field, offering a transdisciplinary approach to both art and science, in collaboration with María Boto Ordóñez and Kristel Peters. Other participating artists are Peter Beyls, Tim Theo Deceuninck, Sina Hensel, Elias Heuninck, Jerry Galle, Vanessa Müller, Pepa Ivanova and Zeger Reyers with curators Alice Lefebvre and Bert Puype.

The exhibition runs until 6 October at KASK & CONSERVATORIUM School of Arts Gent, Belgium. Opening hours mon-fri 2 – 6pm / sat-sun 11am – 6pm

More info here

As part of Archetypal Constellations – Workshops for the Future Anna Walker runs “Time-Travel, Magic and the Archetypes – A Taster Workshop for the Curious” with Vicky Lenton.

The archetypes of the 22 Major Arcana are invited into the space, to channel their wisdom and reveal the hidden patterns that keep us trapped in the repetitive cycles of our past. In a fun and meaningful way, we will discover the hidden power within us and harness the tarot’s historical mysticism to manifest a future full of creativity and love. Together, we will create new ways of being in the world, accessing the collective wisdom to develop methods of holding, embodying and embracing all of who we are.

Carl Jung believed that divination systems such as the Tarot descended from the archetypes of transformation. He coined the term ‘synchronicity’ to indicate simultaneous happenings of meaningful but not causally, connected events. Everything is linked with everything else, like a giant living web. The Tarot when used as a symbolic tool takes the seeker beneath the surface to mirror the ‘constellations’ or patterns that are affecting her/his life. In this 2-day workshop we will be exploring the power of this resonance.

Saturday 28 and Sunday 29 September from 10.30am – 5pm at

The Blue L F, 16 Lancaster Grove, London, NW3 4PB
RSVP – Email: awalker8@mac.com Tel: 07981 888039 
LIMITED PLACES AVAILABLE.

More info here

On Friday 4 October Anna will also be screening three of her films ‘Six Fragments’ (2015-17), ‘Remembering’ (2016-17) and ‘Breathe into me’ (2019) at B.L. Foundation, 16 Lancaster Grove, London NW3 4PB, from 6.30 – 9pm with screening starting promptly at 7pm. Places are again limited – RSVP – Email: awalker8@mac.com Tel: 07981 888039 

Dust & Shadow Reader #2 – Attunement

Very honoured to be part of the Dust & Shadow Reader #2  by FOaM dedicated to the theme of Attunement.  I contributed with a text on the inframince, an ungoing interest of mine and the basis of my doctoral research.

The publication will officially be launched at the Hayden Library in Tempe, 300 East Orange Street, AZ during the Acoustic Ecology Salon on 23 September, where you can also pick up  printed copies of the reader:
https://fo.am/events/vernissage-acoustic-ecology-salon/ (5:30-7pm)
https://fo.am/events/attunement-desert/ (4-5:30pm pre-launch event)

At the opening event of the Desert Humanities Initiative, FoAM and Timothy Morton discuss what it means to attune to the desert landscape. What does the desert ask of us and how might it change how we dwell?

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Abstract

The Dust & Shadow reader #2 is a commonplace booklet exploring attunement as a proposition for engaging with the world, Earth-bound environments and their inhabitants, in a continuously changing field of relationships.

The motley collection of textual and visual excerpts in this reader offers glimpses of attunement from different perspectives, including ecological, technological, animist, transhumanist, artistic, scientific and philosophical points of view. The various perspectives present in the reader suggest a range of different ways of attuning to the wider (and wider-than-human) world. Some are intimate accounts of personal experiences, others present a more theoretical inclination. Some offer imaginative prompts, others concrete exercises. The reader hints at attunement as a way to mitigate the effects of environmental and cultural turbulence. It also invites us to experiment with attunement to reinvigorate our relationships with an uncertain present and unknowable futures.

With contributions from Ron Broglio, Edith Doove, Daniel Gilfillan, Erica Hanson, Cat Jones, Theun Karelse, Kevin McHugh & Scott Warren, Sam Nightingale, Adam Nocek, Anna-Maria Orru & Morten Søndergard, Jerneja Rebernak and others.

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All images from the Reader.